Bulletin d’Information de Groupe Broderie de CIETA
No 13
July 2000
ANNE WANNER'S Textiles in History / CIETA Embroidery Newsletters
| Newsletter
- of the CIETA Embroidery Group Bulletin d’Information de Groupe Broderie de CIETA No 13 |
|
| Dear members, | Rheinfelden, July 11th, 2000 |
| here you are receiving
another Newsletter. This time I wrote 2 versions, a paper
version which is sent to you as usual by mail and this
Internet version. The paper version almost has no
pictures. The reason is that I am now scanning the
photographs and you will find them only in this Internet
version. I am very
happy about the contributions of Christine Aribaud,
Toulouse; Dela von Boeselager, Koeln; Clare Browne,
London; Alex Claude, Zug (Switzerland); Pat Griffiths,
Amsterdam; Tatiana Kossourova, St. Peterburg; Gudrun
Spoerbeck, Koeln and Margaret Swain, Edinburg. Thank you
all very much for your contributions. |
Anne
Wanner-JeanRichard |
General
information: General information The photographs of the chalice veils which were exhibited in St. Gallen last September can be found on this Internet page as well Gudrun Sporbeck, Koeln, became director of the Institute for Historic Textiles in Koeln since the beginning of this year. She is still consultant of the Textile Collection of the Schnuetgen Museum and lecturer at the University of Koeln. Her e-mail address: dr.gudrunsporbeck@stracke-koeln.de |
| The Textilmuseum
St.Gallen shows from 24th May 2000
until spring 2001 Art in warp and weft Press release: The exhibition shows two works created by an artist for the general public, and it displays textile fragments, anonymous works which no weaver would ever have imagined would be on show in a museum. |
| Alfred
Sturzenegger's fabric: The two wall-hangings are among the artist's last figurative works. In spite of their public character, they have never been exhibited before. They were created between 1987 and 1988. One of the wall-hangings manifests the individual person, evincing the innermost core as the power centre of the personality. The other wall hanging contains a balanced loop, which dispassionately encompasses the universal. The even texture captivates onlookers and makes it easy for them to respond to the meditative character of the wall-hangings. Textile
fragments from 19th century
collections: |
 |
| In 1976 the Textil Museum
acquired the Charlotte Bing Collection which had been
collected in the 1870's by Franz Bock (1823-1899), the
most important textile historian of his time. In 1993,
the fabric collection of the Zurich Textile College was
incorporated into that of the Textile Museum. The basic
inventory of that collection consists of the textiles of
the above-mentioned Franz Bock and of the textile expert
Robert Forrer (1866-1947). A brochure about the exhibition is available at the desk. Ursula Karbacher, curator number
of chalice veils in order to complete
the questionnaire
Great Britain: Margaret Swain, vestments
at Traquair Margaret Swain, Royal
Museum of Scotland Germany: Gudrun Sporbeck of
Schnuetgen-Museum, Koeln: Rainer Y of
Wuerttembergisches Landesmuseum, Stuttgart, Germany France: Russia: Switzerland: Alex Claude of Historic
Museum of Zug, Switzerland chalice
veils with data
England: V&A, London: Scotland: vestments at
Traquair Scotland: Royal Museum of
Scotland Germany:
Wuerttembergisches Landesmuseum, Stuttgart Germany: Schnuetgen
Museum, Koeln France: Musee Paul Dupuy,
Toulouse Russia: Eremitage,
St.Peterburg Switzerland: Historic
Museum of Zug Switzerland: Textilmuseum
St.Gallen, chalice
veils
Christine Aribaud, Soieries en Sacristie, Fastes liturgiques, 17e - 18e c., Paris 1998, ISBN 2-85056-337-4 Linus Birchler, Kunstdenkmaeler des Kantons Zug, vol. 2, Basel 1959, p. 107 Millard, OSB, Dom Bede, Ecclesiastical Textiles, in: catalogue of the Pugin exhibition, London 1994, p. 206 Margaret Swain, Scottish Embroidery, Batsford 1986 Margaret Swain, Vestments at Traquair, in: Bulletin du CIETA, No. 72, 1944, pp. 48-59 Anne Wanner, Zur Restaurierung von alten Stoffen, in: 100 Jahre Historisches Museum Zug, 1979, Hg. Zuger Kunstgesellschaft, S. 30-38 Fritz Witte, die liturgischen Gewaender und kirchlichen Stickereien des Schnuetgenmuseums in Koeln, Berlin 1926, Taf. 65, 66 |
chalice
veils Chalice veils in the collection of Victoria and Albert Museum, London Chalice veils in the collection of the Schnuetgen-Museum, Koeln Chalice veils shown in the exhibition at Musee Paul Dupuy, Toulouse Chalice veils in the collection of Wuerttembergisches Landesmuseum, Stuttgart, Germany
|
Soieries en Sacristie Soieries en Sacristie 199 pages on every page
one or several colour photographs |
"Der
Riss im Himmel" |
| Exhibition at Castle
Augustusburg Bruehl, Germany "Der Riss im Himmel" Forthcoming publication: Contribution by Dela von
Boeselager The exhibition "der Riss im Himmel" will last to October 1, 2000. It is open daily from 10 a.m. to 6 p.m. At the moment 18 pieces are exposed in the Castle Augustusburg in Bruehl, situated on the railway line between Cologne and Bonn. |
| The
title and the concept of the exhibition are much
disputed, except for the impressive procession installed
in the main hall showing the archbishop Clemens August
accompanied by diacons and mass servants clad in gold
embroidered garments. On february 12th, 1742 the emperor Karl VII was coronated in Francfort on the Main. For this occasion his brother Clemens August, prince elector and archbishop of Cologne, ordered church vestments in Paris, known as Capella Clementia today and kept in the Cathedral of Cologne. Among the 44 pieces there are two chalice veils showing the lamb of God lying on the Apocalyptic book and the pelican feeding his young ones, motifs symbolizing Christ's sacrifice. The gold embroidery is done mainly in satin stitch, covering both the top and reverse sides of the silver fabric. Besides there are relief motifs, embroidered separately and attached to the fabric. All materials, the metal thread (or file), tinsel (clinquant), sequins (paillettes), coiled wire and coiled strips (canetilles) were made from Parisian Gold (or de Paris). One of the chalice veils has preserved its border of gold lace. The embroidery done in Parisian workshops is of the highest quality. |
Wool embroidery, 17th cent. book: Bilderwelt des
Himmelbetts The exhibition at
the castle of Oberhofen at Thun (near Bern, Switzerland)
shows 4 bed valances. |
Samplers Samplers from the Victoria
and Albert Museum ISBN 18 5177 309 6 |
"Door mijn gdaan" Eef de Jonge-Everaert published by the
Vereniging van Zeeuwse musea en Bureau provinciaal
museumconsulent Zeeland, |
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